Only Many
By George Kanzler at The New York City Jazz Record
Trumpeter Ralph Alessi and pianist Fred Hersch are not strangers, having worked together in Hersch’s quintet. That they are familiar and compatible with each other is evident in the rapport achieved on this duo album, made up largely of originals and improvised collaborations. The 14 tracks here range from pointillist abstractions like “Ride”, a fast, jabbing creation, and “Peering”, a slower, more deliberate meditation, to more lyrical, melodic pieces like the gravely solemn “Campbell” and Paul Motian’s sensuous “Blue Midnight”. Thelonious Monk’s “San Francisco Holiday” is puckishly animated by Harmonmuted trumpet and Hersch referencing Monk pianisms as well as the composer’s fondness for repeating his theme in solos and comping.
Alessi commands an arsenal of trumpet techniques, equally at home playing darting, crisp runs and smeared, smudged notes as long, mellifluous tones and sumptuous lines like those on his own hymnlike “Humdrum” or the ringing, clarion “Hands”. Aside from the seven largely improvised collaborations, the trumpeter provides four compositions. Hersch’s only work is the gleaming “Calder”, a piece with bright, spiraling lines and geometric intersections between the two instruments that recall the namesake’s mobiles. At times, Hersch’s piano is spare, almost skeletal, interacting with Alessi as well as with himself, his two hands utterly distinct. There’s a fountain-like tinkling on the collaboration “Floating Head Syndrome”, Hersch in a high range contrasting with Alessi’s lower, breathy tone. Yet his playing is romantically fullbodied on Alessi’s “1st Dog”, one of the few originals with a catchy tune, reinforced by snappy trumpet phrases.
But the often cerebral and compelling force of this collaboration rests on the interaction and interplay between the two, especially as evinced in the longest track: “Someone Digging in the Ground”, a tour de force of both musical technique and dual invention sustained for over ten glorious minutes.
By CamJazz
The second work by Ralph Alessi on CAM Jazz, after the successful debut of “Cognitive Dissonance”. This time the trumpet player shares the honor of appearing on the cover with Fred Hersch, a pianist of great class, who is in perfect accord with his partner in adventure. “Only Many” is prevalently a CD for four hands, proof of the great complicity created in the studio at the time of the recording.
The brief, intense introduction, “Ride”, seems to be almost a warning to the listener, a call to concentrate on what will happen during the 60 minutes of the album. The velvety “Hands”, composed by Alessi alone, is the prelude to one of the two “cover” pieces on the CD, the wonderful “San Francisco Holiday” by a Thelonious Monk, who can never be mentioned and reinterpreted enough. We have to wait until almost the end of “Only Many” to hear the other virtual guest, Paul Motian, with “Blue Midnight”.
Hypnotic, expanded themes, from Monk to Motian, in which improvisation and interplay reign supreme. Hersch and Alessi pursue each other, chase each other, overlap each other and slowly find increasingly different languages and expressive forms, resulting in an utterly fascinating, magnetic CD. Short, essential themes, almost always lasting between two and four minutes, except for the two interpretations of other composers and the long suite, “Someone Digging in the Ground”, which is the prelude to “Snap”, the grand finale.
A new, interesting development of the artistic dialogue between the pianist and the trumpet player that began a few years ago in Pocket Orchestra by Hersch and destined to further, surprising developments.
Recorded at Dolan Recording Studios/NYU Steinhardt School
Recording engineer Paul Geluso
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